DOCSLIB.ORG

MAG App Object Scripts: Art by Culture Or Date - Descriptions 10/14/11 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAG App Object Scripts: Art by Culture Or Date - Descriptions 10/14/11 1 MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 1 American Art: 20th Century American Art Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Ancient Middle Eastern Art At the Crossroads See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia. Chinese Art Arts of Asia See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China. Egyptian Art Berkeley Gallery of Ancient Art Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. Etruscan Art The Helen H. Berkeley Gallery of Ancient Art See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. European Art: 19th Century European Art Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor. MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 2 European Medieval Art European Art The period from about 1100 to 1400 in Europe is known as the Medieval Period, or the Middle Ages. Previously thought of as a "dark age" of lost knowledge, disease, and warfare, the period is now recognized for its own remarkable and distinctive arts, many supported by the Catholic church. Greek Art Berkeley Gallery of Ancient Art Explore a selection of artworks representing the beginnings and the legacy of the ancient Greek civilization. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. Indian & SE Asian Art Arts of Asia Selected works of art from India, Thailand, Indonesia, and Cambodia represent diverse yet related traditions, influences, and beliefs. Islamic Art At the Crossroads Explore a selection of decorative and functional ceramics, Medieval manuscripts, and ritual objects representing the spread of the Islamic faith and its art forms through the Middle East, Central Asia, and North Africa. Italian Renaissance Art European Art The period from about 1400 to 1600 in Italy is now known as the Renaissance. It featured a flowering of culture and art that looked back on the classical arts of Rome and Greece. Japanese Art Arts of Asia View a small selection of artworks made in Japan between the 1500s and the late 1800s, a period of cultural flowering and sharing known as the Edo Period. MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 3 Northern Renaissance Art European Art During the period from about 1400 to 1600 in northern Europe, especially Germany, France, and the Low Countries (modern Netherlands and Belgium), the arts incorporated influences brought north from Italy, yet retained features unique to Northern arts. Roman Art Berkeley Gallery of Ancient Art See a variety of material objects and works of art representing the civilization of ancient Rome and its reach across the ancient world The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. MAG App Object Scripts: American 20th C 8/26/11 1 American Art of the 20th Century Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Memory William Ordway Partridge (American , 1861 - 1930) , 1914 Gift of Mrs. James Sibley Watson, 13.12 Cloaked, hooded, and over life size, Memory A Fitting Tribute A View from MAG’s Past quietly dominates the space of the Foyer. She Commissioned by Emily Sibley Watson, the In this historic photograph, Memory stands on the cradles a large urn in her arms, a funerary founder of the Memorial Art Gallery, Memory is back wall of the current Renaissance gallery. She reference from ancient art. Her downcast a tribute to her deceased son James G. Averell. presides over a sculpture display that includes "casts features, shaded by her hood, give Memory a The statue was one of the first works of art to in plaster of the most beautiful pieces of ancient sad yet dignified appearance that fits her role: enter the Gallery’s permanent collection when it sculpture,” a replica collection no longer seen in the personification of a mother’s grief. opened to the public in 1913. modern museums. very limited space here!!! Image = zoom view of Statue Image = The Hall of Casts, ca. 1914 About the Artist: Who was James Averell? William Ordway Partridge James George (“J.G.”) Averell was the son of William Ordway Partridge ranks as one of Gallery founder Emily Sibley Watson and her America’s most prominent sculptors of the first husband. Averell studied architecture at early 1900s. Harvard, as well as on travels in Europe. His career was tragically short-lived, as he died of Born in Paris to American parents, he studied typhoid fever at age 27. art there, as well as in Florence and Rome. He became best known for monumental public Image = Portrait of James G. Averell, sculptures of literary and historical figures such base of Memory, 13.13 as Shakespeare and Ulysses S. Grant. MAG App Object Scripts: Anc Mid East + AAC 8/29/11 1 Ancient Middle Eastern Art See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia. Cuneiform Tablet with Case Sumerian, Ur III (ca. ca. 2094 - 2047 BCE), 2049 BCE Gift of Mr. Gordon Thompson in memory of his father, William G. Thompson, D.D., a student of Babylonian archaeology, 54.58.4.1-2 Translation from Sumerian: Receipt Required? Look carefully; this tiny clay object is easy to "[A number of] royal gurs of barley (gur = This small, rather plain-looking clay object is actually a miss, at just about 1½ inches square! about a bushel), received from Ebagar of the 4,000 year old receipt proving payment of taxes. town of Bazi; recorded by the scribe Lubimu, • Notice the impressions left in the clay of the The dots, lines, and wedge shapes on this 4,000 son of Urigalim, in the month of the barley "envelope" by the cuneiform writing on the inner year old clay tablet are an example of cuneiform harvest, the year that the city of Urbillum was tablet. (say coo-NAY-ih-form), some of the world’s devastated [by King Shulgi’s army]." • The message, or in this case a receipt for taxes paid, earliest writing. The records of entire Middle was inscribed into the still-damp clay of this tablet. Eastern civilizations, from government accounts • When the small clay tablet with its inscribed message and business transactions to literary works and was dry, a second layer of damp clay was fitted around personal correspondence, were written on millions it, forming a primitive "security envelope." The of ancient clay tablets. message was inscribed on the outer “envelope” as well, and dried. If the inner and outer messages did not match, it proved that someone had tampered with the information. • These red ink numbers are a later addition to the object. They are accession numbers, added by the Gallery to identify and keep track of the object in collection records. MAG App Object Scripts: Anc Mid East + AAC 8/29/11 2 Worshipper Bearing an Animal Offering Mesopotamian, possibly Old Babylonian, ca. 1900 -1500 BCE R.T. Miller Fund, 45.60 The man shown on this tiny molded clay plaque Object of Devotion wears the fringed garment, round cap, and long Worshippers in many cultures hoped to assure their curled beard typically worn by men in the ancient gods' favor by presenting offerings, including choice Babylonian culture. He cradles a small goat animals, fine foods, and token objects known as intended as a gift to the temple of one of his gods, votives. This clay plaque may have served as a to be sacrificed or added to the flocks maintained votive to a god, as well as "proof" of the ritual by the priests. performance and its accompanying gift. Image = zoom Tribute Bearer Achaemenid Persian; Made in Persepolis, ca. 650 – 330 BCE R.T. Miller Fund, 44.1 This man from the land of the Medes (say Celebrating the New Year Palace Processions MEEDS), now in northern Iran, wears a typical The covered vessel carried by this palace servant This relief figure was originally situated on a Median horseman’s costume: fitted coat, trousers, likely holds some delicacy intended for the king’s stairway, in a grouping very similar to this example and soft felt helmet. He once joined the hundreds banquet table. still in place in the palace complex at Persepolis. of carved, brightly painted figures representing servants, nobles, and foreign dignitaries, marching Dignitaries, nobles, and foreign rulers descended on Image = From the Palace of Xerxes; western along ceremonial staircases at the ancient Persian Persepolis in March as guests of the king to stairway, east face of the parapet, northern flight.
Load more

Recommended publications
  • 2: Provincial Matters
    2: Provincial matters Thirty years before Richard Hoggart lived in Rochester, Kathleen McEnery [ 19 ] Cunningham presided at the centre of a lively cultural scene there. In 1914, she had married Francis Cunningham, then secretary and general manager of James Cunningham, Son and Company, a luxury coach- and car-making company. She was probably introduced to Cunningham by his cousin, Rufus Dryer, a good friend of hers in New York and, like her, an artist and a student of Robert Henri at the Art Students League a few years earlier. Before her marriage, she lived in New York, where she was already achieving success as a young artist. Her paintings were exhibited in gallery shows in the city with the work of Stuart Davis, Edward Hopper, George Bellows and other now well-known artists, and two were included in the landmark 1913 Armory Show, known as the major exhibition which introduced European modernism to the United States. In Rochester, she continued to paint – mainly still life works and portraits of her friends and acquaintances. The city was transformed in the years immediately after McEnery’s arrival. I wrote about this a few years ago, in a book about English and American artists outside the mainstream of institutionally accredited ‘modern art’. Economically, the first three decades of the twentieth century had been described as Rochester’s golden age, and the centrality of Eastman-Kodak to the city’s prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the ‘end of provincialism’.
    [Show full text]
  • The Heritage of Rogier Van Der Weyden. Painting in Brussels 1450-1520
    Press Release Royal Museums of Fine Arts of Belgium The heritage of Rogier van der Weyden. Painting in Brussels 1450-1520. 11.10 2013 > 25.01 2014 In the autumn of 2013 the Royal Museums of Fine Arts of Belgium will stage an exhibition devoted to painting in Brussels in the period between the death of Rogier van der Weyden (1464) and the activity of Bernard van Orley (1515- 1541). At that moment Brussels was a thriving town. The Coudenberg Palace being the favourite residence of the dukes of Burgundy. It was surrounded by the palaces of courtiers and noble families like the Nassau or the Ravenstein. They were all important patrons of the arts. It is difficult to identify the painters of this period. Among the painters active in Brussels at that moment, Colyn de Coter is the only one of whose signed work has come down to us. Rogier van der Weyden, Portrait of Antony of Bourgondy ca. 1430 -1504 (1456 - 1464), Oak, 38,4 x 28 x 0,4 cm ©MRBAB/KMSKB Through a document we know that Aert van den Bossche painted a triptych for the Saint Nicolas church. Pieter van der Weyden, who inherited the famous workshop of his father Rogier, is mentioned in several documents, but no painting can be attributed with certainty to him. On the other hand, there are unsigned and undocumented paintings that show a strong influence of Rogier van der Weyden, or others with the inscription "te Bruesele" - made in Brussels - and some that prominently depict Brussels monuments, like the Saint Gudula Cathedral.
    [Show full text]
  • The Mystery of the Louvre
    ~~'ORLU\\ mr I'CBLJEIILNU C ovr \\ i iq 'L:I~1~14 80 i)rill:r the hit-hnonn lio\c.ls uf Ll~e norld ~sitliin tile iach of the rnillioils, by prcsc.r,t~rl,o ilt ttt. lorre\.t powihlc pricc per copy, in cn,iT.l~!:aitsi~e, on ~..cfcllentpaper, with bc:wlii'[il ud duld~le birlrlinq, n long seric~lof storicr, .cl hi( :I el crylbody tins hc:~rd of :rnd could desire to re.d Nc.vrr Iwfnrc 1m It I~c~tlporsiiilc tu pllieni books of the v;orld's most, fnrriorls 11vir19 :r~~tl~orr at sr~clla bmnll price. To render it possible now it will be nert'w~ry th~tcnch rolrln~c should haye a sale of hundreds of thous:incls of copicr and that many volumes of tlic serics diotild in due course iind their wry into nearly ever-/ home, however Inmlble, in thc U~litedStuies and G,~nada. The publisher> hew %he utn~oslooniideim that thi8 c1~1will he achieved. Th(.novels of Wonm WIDE Pbnr I~HI\GCox- PANY will be selected by one of the movt dls. tingwslled of living mcn of letters, nntl II short biog~npl~icaland bibliogruphical notc on the author hnd bir works will I)(* nppc.ndrd lo cnch vulrlmr. THE LOUVR i,:ir~~-l-i)j;~\i~i~ojs1.5 visitcil f):,ris is f,~r~~i[i:irwith !lie Louvre. O~~t~vnrdlyit i:; a lo~ry;,l.?i:lgy, ::!.irn-looking builtling ni sombre grey s,tcmcJ.., that i'! o\irns~nenacin~lyoil to the rue de Rivoli.
    [Show full text]
  • This List of Gestures Represents Broad Categories of Emotion: Openness
    This list of gestures represents broad categories of emotion: openness, defensiveness, expectancy, suspicion, readiness, cooperation, frustration, confidence, nervousness, boredom, and acceptance. By visualizing the movement of these gestures, you can raise your awareness of the many emotions the body expresses without words. Openness Aggressiveness Smiling Hand on hips Open hands Sitting on edge of chair Unbuttoning coats Moving in closer Defensiveness Cooperation Arms crossed on chest Sitting on edge of chair Locked ankles & clenched fists Hand on the face gestures Chair back as a shield Unbuttoned coat Crossing legs Head titled Expectancy Frustration Hand rubbing Short breaths Crossed fingers “Tsk!” Tightly clenched hands Evaluation Wringing hands Hand to cheek gestures Fist like gestures Head tilted Pointing index finger Stroking chins Palm to back of neck Gestures with glasses Kicking at ground or an imaginary object Pacing Confidence Suspicion & Secretiveness Steepling Sideways glance Hands joined at back Feet or body pointing towards the door Feet on desk Rubbing nose Elevating oneself Rubbing the eye “Cluck” sound Leaning back with hands supporting head Nervousness Clearing throat Boredom “Whew” sound Drumming on table Whistling Head in hand Fidget in chair Blank stare Tugging at ear Hands over mouth while speaking Acceptance Tugging at pants while sitting Hand to chest Jingling money in pocket Touching Moving in closer Dangerous Body Language Abroad by Matthew Link Posted Jul 26th 2010 01:00 PMUpdated Aug 10th 2010 01:17 PM at http://news.travel.aol.com/2010/07/26/dangerous-body-language-abroad/?ncid=AOLCOMMtravsharartl0001&sms_ss=digg You are in a foreign country, and don't speak the language.
    [Show full text]
  • ESC Guidelines Around Gestures and Emoji
    ESC Guidelines around Gestures and Emoji Author:​ Lauren Gawne, linguist, on behalf of the Emoji Subcommittee Date:​ September 29, 2020 Version: ​1.0 Introduction Handshapes are one of the most frequently used categories of emoji, second only to smileys. Handshapes are easily recognised, and flexible in use in digital communications, giving us high confidence as useful emoji additions Gestures broadly fall into a number of popular subcategories like ​body-parts​, ​person-gesture​ and ​face-hand​, and ​person-activity​. Background The gestures fall into three main categories. Some handshapes might fit hand action types across all three. Some hand actions may also have specific meanings in one or more signed languages (e.g. the extended pinky generally means ‘bad’ in BSL and Auslan, and is the letter I in ASL). Emblematic Emblem gestures have a stable form that is linked to a stable meaning. A thumbs up only works if it’s only the thumb extended and it’s pointing upwards point it down and it means something different extend the pinky as well and it’s no longer a thumbs up, it’s a shaka 酪. These gestures are not ‘universal’, but have meanings across cultural areas. For example, the thumbs up is a positive sign in Euro-American culture but can be offensive in Iran and other Middle Eastern countries. The published literature on these is strongly skewed toward American/European emblem gestures. Recurrent gestures Recurrent gestures are less formalised than emblems, they tend to have a set of meanings but they’re not as direct as Emblems and the form of the gesture is not as fixed.
    [Show full text]
  • Hand Gestures
    L2/16-308 More hand gestures To: UTC From: Peter Edberg, Emoji Subcommittee Date: 2016-10-31 Proposed characters Tier 1: Two often-requested signs (ILY, Shaka, ILY), and three to complete the finger-counting sets for 1-3 ​ (North American and European system). None of these are known to have offensive connotations. HAND SIGN SHAKA ● Shaka sign ​ ● ASL sign for letter ‘Y’ ● Can signify “Aloha spirit”, surfing, “hang loose” ● On Emojipedia top requests list, but requests have dropped off ​ ​ ● 90°-rotated version of CALL ME HAND, but EmojiXpress has received requests for SHAKA specifically, noting that CALL ME HAND does not fulfill need HAND SIGN ILY ● ASL sign for “I love you” (combines signs for I, L, Y), has moved into ​ ​ mainstream use ● On Emojipedia top requests list ​ HAND WITH THUMB AND INDEX FINGER EXTENDED ● Finger-counting 2, European style ● ASL sign for letter ‘L’ ● Sign for “loser” ● In Montenegro, sign for the Liberal party ● In Philippines, sign used by supporters of Corazon Aquino ● See Wikipedia entry ​ ​ HAND WITH THUMB AND FIRST TWO FINGERS EXTENDED ● Finger-counting 3, European style ● UAE: Win, victory, love = work ethic, success, love of nation (see separate proposal L2/16-071, which is the source of the information ​ ​ below about this gesture, and also the source of the images at left) ● Representation for Ctrl-Alt-Del on Windows systems ● Serbian “три прста” (tri prsta), symbol of Serbian identity ​ ​ ● Germanic “Schwurhand”, sign for swearing an oath ​ ​ ● Indication in sports of successful 3-point shot (basketball), 3 successive goals (soccer), etc. HAND WITH FIRST THREE FINGERS EXTENDED ● Finger-counting 3, North American style ● ASL sign for letter ‘W’ ● Scout sign (Boy/Girl Scouts) is similar, has fingers together ​ Tier 2: Complete the finger-counting sets for 4-5, plus some less-requested hand signs.
    [Show full text]
  • Enregisterment in Historical Contexts
    0 Enregisterment in Historical Contexts: A Framework Paul Stephen Cooper A thesis submitted to the University of Sheffield for the degree of Doctor of Philosophy in the School of English Literature, Language and Linguistics February 2013 1 ABSTRACT In this thesis I discuss how the phenomena of indexicality and enregisterment (Silverstein 2003; Agha 2003) can be observed and studied in historical contexts via the use of historical textual data. I present a framework for the study of historical enregisterment which compares data from corpora of both nineteenth-century and modern Yorkshire dialect material, and the results of an online survey of current speakers so as to ascertain the validity of the corpus data and to use ‘the present to explain the past’ (Labov 1977:226). This framework allows for the identification of enregistered repertoires of Yorkshire dialect in both the twenty-first and nineteenth centuries. This is achieved by combining elicited metapragmatic judgements and examples of dialect features from the online survey with quantitative frequency analysis of linguistic features from Yorkshire dialect literature and literary dialect (Shorrocks 1996) and qualitative metapragmatic discourse (Johnstone et al 2006) from sources such as dialect dictionaries, dialect grammars, travel writing, and glossaries. I suggest that processes of enregisterment may operate along a continuum and that linguistic features may become ‘deregistered’ as representative of a particular variety; I also suggest that features may become ‘deregistered’ to the point of becoming ‘fossil forms’, which is more closely related to Labov’s (1972) definition of the ultimate fate of a linguistic stereotype. I address the following research questions: 1.
    [Show full text]
  • DECEMBER 08 Doing Business Globally Requires More Than Compliance with Legal Mandates
    ows When stepping into a foreign country, be sure to start on the right foot. DECEMBER 08 Doing business globally requires more than compliance with legal mandates. Knowledge of local customs is also critical, especially when making a first impression. A monthly best practices alert for multinationals confronting the As 2008 draws to a close (none too soon), and we all look forward to greeting the New challenges of the global workplace Year, we offer some tips on how to say hello in countries around the world. This Month’s With best wishes from the International Labor Group. Challenge When doing business abroad, Hugs and Business Gestures/ not knowing the local customs Country Handshake Eye Contact Other Kisses Cards Physical Space can lead to serious embarrassment. EUROPE UK A handshake Generally Customs Avoid Direct eye Pants actually Best Practice is the most no kissing similar to excessive hand contact is means appropriate or hugging. U.S. gestures and common and underwear, not Tip of the Month greeting. displays of acceptable, but trousers. emotion. don’t be too A little preparation can prevent intense. a lot of trouble. Get to know France A handshake In social Cards The U.S. sign Direct eye Always apologize the local customs before is the most settings, should be for ok means contact is if you do not embarking for an international appropriate friends do printed in zero in France. common and speak French business meeting. greeting and les bises English acceptable, and or if you need to farewell. (touching on one sometimes conduct business However, cheeks and side and intense.
    [Show full text]
  • Baseball Caps
    HILLS HATS WINTER LOOKBOOK 2019 TWEED HATS Eske Donegal English Luton Check English Tweed Cheesecutter Tweed Cheesecutter 2540 2541 Navy, Black, Olive Brown, Grey S, M, L, XL, XXL S, M, L, XL, XXL Herefordshire Check English Wiltshire Houndstooth English Tweed Cheesecutter Tweed Cheesecutter 2542 2544 Blue, Green Brown, Grey, Beige, Blue, Fawn S, M, L, XL, XXL S, M, L, XL, XXL Devon Houndstooth Swindon Houndstooth Lambswool Tweed Cheesecutter Lambswool English Tweed Cheesecutter 2552 2573 Blue, Rust Blue, Green, Wine, Fawn S, M, L, XL, XXL S, M, L, XL, XXL 1 Chester Overcheck Hunston Overcheck Lambswool English Tweed Cheesecutter English Tweed Cheesecutter 2574 2554 Blue, Olive, Brown Black, Blue, Brown, Green S, M, L, XL, XXL S, M, L, XL, XXL Saxilby Overcheck English Glencoe Overcheck Lambswool Tweed Cheesecutter Tweed Cheesecutter 2567 2537 Brown, Green Green, Mustard S, M, L, XL, XXL S, M, L, XL, XXL Bingley Check Lambswool Bramford Houndstooth English Tweed Cheesecutter Tweed Cheesecutter 2551 2556 Olive, Blue Blue, Green S, M, L, XL, XXL S, M, L, XL, XXL 2 TWEED HATS Warrington Herringbone English Tweed Cheesecutter 2576 Charcoal, Brown, Khaki S, M, L, XL, XXL English Wool Tweed Patchwork Cheesecutter 300 Blue, Green, Brown S, M, L, XL, XXL Eske Donegal English Tweed 4 Piece Cheesecutter 2570 Black, Navy, Olive S, M, L, XL, XXL 3 Dartford Herringbone English Tweed 4 Piece Cheesecutter 2570 Black, Brown, Blue, Green S, M, L, XL, XXL Bingley Check English Tweed 7 Piece Cheesecutter 2571 Blue, Olive S, M, L, XL, XXL Warrington Herringbone
    [Show full text]
  • How Body Language Can Help--Or Hurt--How You Lead
    Table Of Contents Title Page Copyright More praise for The Silent Language of Leaders Introduction Oh, the Things I've Seen! The Time Is Right Chapter Outline From Good to Outstanding Chapter 1: Leadership at a Glance Your Three Brains Wired for Body Language The Eye of the Beholder Personal Curb Appeal Five Mistakes People Make Reading Your Body Language When Your Body Doesn't Match Your Words The Body Language of a Great Leader Chapter Two: Negotiation Four Tips for Reading Body Language Are They with You or Against You? Dealing with the Disengaged Are They Bluffing? Body Language Guidelines for Negotiators Chapter 3: Leading Change This Is Your Brain on Change The Body-Mind Connection Announcing Change What Do People Want from You? The Power of Empathy Chapter 4: Collaboration The Universal Need for Collaboration Wired to Connect Six Body Language Tips for Inclusion The Importance of How You Say What You Say Using Space Dress for Success What Your Office Says About You Familiarity Breeds Collaboration Chapter 5: Communicating Virtually and Face-to- Face Technology, the Great Enabler Six Tips for a Conference Call Important Tips for Videoconferencing Technology Brings a New Range of Communication Options What's So Great About Face-to-Face? Chapter 6: He Leads, She Leads The Neuroscience of Gender Why Jane Doesn't Lead Thirteen Gender-Based Differences in Nonverbal Communication Leadership Styles of Men and Women The Body Language of Male and Female Leaders Body Language Tips for Male and Female Leaders Men Are from Mars, Women Are from
    [Show full text]
  • Descarga Aquí Función, Símbolo Y Significado En
    [Recepción del artículo: 11/07/2014] [Aceptación del artículo revisado: 12/12/2014] FUNCIÓN, SÍMBOLO Y SIGNIFICADO EN LAS ESCENOGRAFÍAS DE LOS PRIMITIVOS FLAMENCOS: UNA ARQUITECTURA PICTÓRICA PARA LA CONTEMPLACIÓN FUNCTION, SYMBOL AND MEANING IN THE SCENOGRAPHIES OF EARLY FLEMISH: A PICTORIAL ARQUITECTURE FOR CONTEMPLATION MARÍA RODRÍGUEZ VELASCO Universidad CEU San Pablo [email protected] RESUMEN La arquitectura revela de forma directa su funcionalidad y el carácter sacro de sus estructuras. Pero los Primitivos Flamencos convierten sus escenografías en fuente de inagotables significa- dos a partir de “simbolismos disfrazados”. Para configurar sus programas iconográficos estos pintores parten de textos de la tradición cristiana y de la teología de la Edad Media. Este texto trata de profundizar en la relación entre arquitectura, liturgia y símbolos a través de las obras de R. Campin, D. Bouts y V. van der Stockt conservadas en el Museo del Prado. PALABRAS CLAVE: Arquitectura, Iconografía, Primitivos Flamencos, R. Campin, D. Bouts y V. van der Stockt. ABSTRACT The architecture directly reveals its functionality and the sacredness of their structures. But the Early Flemish transform their scenography in an endless source of meanings from “disgui- sed symbolism”. To set their iconographic these painters based on the Christian tradition and theology of the Middle Ages. This text intends to go in depth the relationship between archi- tecture, liturgy and symbols through the works of R. Campin, D. Bouts and V. van der Stockt preserved in the Museo del Prado. KEYWORDS: Architecture; Iconography; Early Flemish; R. Campin; D. Bouts y V. van der Stockt. Codex Aquilarensis 30/2014, pp.
    [Show full text]
  • Materials for a Rejang-Indonesian-English Dictionary
    PACIFIC LING U1STICS Series D - No. 58 MATERIALS FOR A REJANG - INDONESIAN - ENGLISH DICTIONARY collected by M.A. Jaspan With a fragmentary sketch of the . Rejang language by W. Aichele, and a preface and additional annotations by P. Voorhoeve (MATERIALS IN LANGUAGES OF INDONESIA, No. 27) W.A.L. Stokhof, Series Editor Department of Linguistics Research School of Pacific Studies THE AUSTRALIAN NATIONAL UNIVERSITY Jaspan, M.A. editor. Materials for a Rejang-Indonesian-English dictionary. D-58, x + 172 pages. Pacific Linguistics, The Australian National University, 1984. DOI:10.15144/PL-D58.cover ©1984 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. PACIFIC LINGUISTICS is issued through the Linguistic Circle of Canberra and consists of four series: SERIES A - Occasional Papers SERIES B - Monographs SERIES C - Books SERIES D - Special Publications EDITOR: S.A. Wurm ASSOCIATE EDITORS: D.C. Laycock, C.L. Voorhoeve, D.T. Tryon, T.E. Dutton EDITORIAL ADVISERS: B.W. Bender K.A. McElhanon University of Hawaii University of Texas David Bradley H.P. McKaughan La Trobe University University of Hawaii A. Capell P. MUhlhiiusler University of Sydney Linacre College, Oxford Michael G. Clyne G.N. O'Grady Monash University University of Victoria, B.C. S.H. Elbert A.K. Pawley University of Hawaii University of Auckland K.J. Franklin K.L. Pike University of Michigan; Summer Institute of Linguistics Summer Institute of Linguistics W.W. Glover E.C. Polome Summer Institute of Linguistics University of Texas G.W. Grace Malcolm Ross University of Hawaii University of Papua New Guinea M.A.K.
    [Show full text]